I once posted some samples of Whirly Tubes (corrugated tubes that you spin round your head to produce a note). Today someone stumbled across the thread from years ago, and asked if I still had the files. So I dragged them out and re-posted them. Then it occurred to me that they could be revived for ARIA - except that I don't know how to do SFz.
So I'm posting the link here. Use them however you like, but if anyone feels like mapping them for ARIA I'd appreciate you resharing them here at Garritan central (I've included the old Kontakt programs as suggestions for how the samples could be mapped).
Im not sure how was the original mapping. Try this one in ARIA and let me know if it was like it was intended to be mapped.(you need to put the sfz file in the same folder than the samples, and then drag-n-drop it to ARIA)
Seems ok to me Marce, and perfectly logically laid out. Thankyou very muchfor taking the time to map them.
Is there a way, in ARIA, to hold a note, and then use a controller to fade between velocity layers? I'm guessing it must be possible, since the mod-controlled crescendos in GPO must do something like this.
I made a new folder called "Whirly Tubes" and moved the new .sfz file and all of Pingu's samples into that folder.
I then opened ARIA (64bit), imported Whirly Tubes and 15 samples were mapped to keys.
There are many more samples in Pingu's offering - am I doing something wrong?
I can't really tell, because I can't open an SFz other than in ARIA. But I think Marce has mapped all the harmonics from each tube on one note, with velocity determining which one gets played. So, for instance, the bottom F# has 5 notes on it. There were originally 15 tubes, some of which produced 5 notes, some 4 and some 3. Seems fairly logical, since it is velocity of the tube that determines the harmonic produced.
THe only thing it's really missing is a way to switch between notes during the sustain period, which is obviously a feature of the real tubes. Also there's still scope for a layout in which the notes are mapped chromatically, rather than by tube, so that they can be used more like an organ sounds.
Here is a link to a recording I did in ARIA. I hit each note and held it, then moved the mod wheel up completely, paused, then proceeded to the next note - going through all 15 notes. I could detect a little variation in the harmonics but I wasn't sure if it was the mod wheel affecting it or just the sample itself.
I think Marce has mapped all the harmonics from each tube on one note, with velocity determining which one gets played. So, for instance, the bottom F# has 5 notes on it. There were originally 15 tubes, some of which produced 5 notes, some 4 and some 3. Seems fairly logical, since it is velocity of the tube that determines the harmonic produced.
I will try velocities next.
In theory there is no difference between theory and practice, but in practice there is.